To add to this, from 1:28-1:30, love the emphasis on the A natural in the left hand. Creates a haunting dissonance leading really well into the next section.
Kissin plays rach and scriabin in a way that is so monstrous. Its very deep in sound and growling and very interesting! I made this conclusion by listening to this and his rach 3 ossia cadenza
So amazing! His playing of the parts from 1:15 and 2:17 are amazing. I love that in parts like 2:34 and 2:47, he doesnt start with forte but greatly cresendos into the climax a few seconds later
(Random thoughts) The op. 42 set contains some of the last pieces of music in minor keys composed by Scriabin with the exception of the prelude in the op. 51 set, and in fact this is the last one with "aggressively" sounding traditional minor tonality. Someone said the etude indicates morbidness or imminent death (breathlessness by disease) but for me it is rather associated with anxiety, struggle, and desperation in search of lost or unreachable things. The music programmatically reminds me of liquid movements, for instance waves on a dark river or ocean at the (stormy) night as in the second movement of the sonata-fantasy. Many of the rhythmic motifs make sense in this context. At faster tempo it feels more like wind than water (both are fluid anyways 😂) The recapitulated first theme (1:34) is always played fff no matter what but IMO it should not be that loud considering that there are two crescendos until the ff explosion (1:55) and that the second theme (1:01) is also introduced with the same dynamic indication as in the first theme recap, namely f. This performance undoubtly shows crystal clear exposition and control of melody.
Such a great etude, I think I have always liked it a little more than the d#. He is a true Scriabinist, plays impetuously and irregular. Horowitz plays it louder and faster but Kissin creates music, I esp love his left hand bringing out the hidden melodies of the deep.
There is an important error in the way to name this piece (and many others). The correct way is: Etude Op. 42, No. 5. This is because numbers BEFORE opus number in a tittle indicate the place a particular piece occupies in the total list of that type of pieces composed by someone (i.e. etudes, sonatas, nocturnes...) However, numbers AFTER opus number in a tittle indicate the place a particular piece occupies in the list of THAT OPUS NUMBER (usually, an opus number means one or more pieces published together). Thus sometimes you have to use BOTH numbers and if you misuses the place of the number, you are not appropriate identifying the piece. Some examples: - Opus 42, by Scriabin comprise 8 etudes published at the same time: nº 5 of this collection must be defined indeed as Etude Op. 42, No. 5. On the other hand, Scriabin composed several etudes before this op. 42: one etude under opus 2 and 12 etudes under op. 8: Thus, our etude Op. 42, No. 5 is, in fact, the 18th etude composed by Scriabin, so it can be named also as Scriabin's Etude No. 18; and finally, it can be used BOTH numbers, named this piece as Scriabin's Etude No. 18, Op. 42, No. 5. This is not often used for Scriabin's etudes, but is commonly used in Beethoven's sonatas: i.e. Beethoven's Waldstein Sonata No. 21, Op. 53 (only this sonata in op. 53) and Beethoven's Moonlight Sonata No. 14, Op. 27, No. 2 (because Beethoven published TWO sonatas at the same time). In this case it is clear that it cannot be used Sonata Op. 27, No. 14!! thus you can correctly name this piece in THREE ways: Sonata No. 14; Sonata Op. 27, No. 2; Sonata No. 14, Op. 27, No. 2. Hope this long explanation will be useful.
The #5 is such a show-stopper. If only it didn't look so scary on paper. Especially that recap. Yikes! Very Schumann Toccata-esque. The etude is like Scriabin's answer to Thalberg's Three Hands Technique.
Зачем? У него своё видение этого опуса с 1986, прекрасной юношеской записи из БЗК в Москве! Спасибо Анне Павловне Кантор! Она даже в каком-то отношении лучше, искреннее, органичнее, чем эта, хотя эта тоже шедевр...
@@nss4472 Да, да. Тогда, возможно даже в отношении этого этюда, Вознесенский сказал, что ему страшно от того, что юный пианист понимает то, что по возрасту еще не положено понимать. (хотя могу ошибаться).
@@Varooooooom only notes and no essence. Kissin doesn't understand Scriabin at all. He is a fraud as a pianist (like sooooo many), but I like him as a person. Scriabin is not a lunatic like Robert Schumann or me, he was visionary, the "star gate portals" he felt them, I do to, but it is not like that. The Mysterium is NOTHING and was not Alexandre his ego! It was about the spectrum of light and the connection with love and fear of death. Kissin is just a baby here!
@@michieldemarey I think Kissin’s interpretation of this etude is much more evolved and intentional than most other pianists’ interpretations. His performances usually sound very standard to me, but this one clearly has a lot of care poured into it. No offense, but you sound very egotistic.
What can I say? I’m speechless from the geniosity that Kissin brings out of this dramatic poetic piece
Kissin easily has the best recording of this piece, imo. There’s so much drama, tension, emotion, and story packed into it.
🎉
In my opinion, Horowitz has the best recording, but this version is also very good
@@soumyadeepsarma6686Same for me. I love the Horowitz recording more than anything but this is definitely one of my favorites
Yes. As they're saying here: please please please listen to the Horowitz?
@@StephenJackson1958 I already have, and I’m not a fan.
Kissin's performance is the best I have ever heard!! You can listen to it eternally without getting tired of it!!
Beautiful singing melodic lines, which is quite hard to achieve in this piece. This may be my favorite recording.
To add to this, from 1:28-1:30, love the emphasis on the A natural in the left hand. Creates a haunting dissonance leading really well into the next section.
Incredible talent . Enjoyable and passionate performance.
Kissin plays rach and scriabin in a way that is so monstrous. Its very deep in sound and growling and very interesting! I made this conclusion by listening to this and his rach 3 ossia cadenza
So amazing! His playing of the parts from 1:15 and 2:17 are amazing. I love that in parts like 2:34 and 2:47, he doesnt start with forte but greatly cresendos into the climax a few seconds later
(Random thoughts)
The op. 42 set contains some of the last pieces of music in minor keys composed by Scriabin with the exception of the prelude in the op. 51 set, and in fact this is the last one with "aggressively" sounding traditional minor tonality. Someone said the etude indicates morbidness or imminent death (breathlessness by disease) but for me it is rather associated with anxiety, struggle, and desperation in search of lost or unreachable things.
The music programmatically reminds me of liquid movements, for instance waves on a dark river or ocean at the (stormy) night as in the second movement of the sonata-fantasy. Many of the rhythmic motifs make sense in this context. At faster tempo it feels more like wind than water (both are fluid anyways 😂)
The recapitulated first theme (1:34) is always played fff no matter what but IMO it should not be that loud considering that there are two crescendos until the ff explosion (1:55) and that the second theme (1:01) is also introduced with the same dynamic indication as in the first theme recap, namely f.
This performance undoubtly shows crystal clear exposition and control of melody.
하나의 드라마나 영화같은...아름다운 키신의 연주. 감동입니다❤
Thanks for upload! It was interesting to see both notes and pianist at the same time.
Best performance of Scrician Etude No 5 Op 42 !
Such a great etude, I think I have always liked it a little more than the d#. He is a true Scriabinist, plays impetuously and irregular. Horowitz plays it louder and faster but Kissin creates music, I esp love his left hand bringing out the hidden melodies of the deep.
정말 아름답다.. 아름답다 못 해 가슴이 너무 아픈 곡이에요.
Yeah, dude’s got a real nice touch.
En av de bästa versionerna, full av både kraft och sång.
Holy shit Kissin+score ❤❤❤
BRAVÍSSIMO..GRAXIEEE MONSEÑOR!!!¡¡
....Great artist !
2:02 damn Scriabin
2:02 fantastic
There is an important error in the way to name this piece (and many others). The correct way is: Etude Op. 42, No. 5. This is because numbers BEFORE opus number in a tittle indicate the place a particular piece occupies in the total list of that type of pieces composed by someone (i.e. etudes, sonatas, nocturnes...) However, numbers AFTER opus number in a tittle indicate the place a particular piece occupies in the list of THAT OPUS NUMBER (usually, an opus number means one or more pieces published together). Thus sometimes you have to use BOTH numbers and if you misuses the place of the number, you are not appropriate identifying the piece.
Some examples:
- Opus 42, by Scriabin comprise 8 etudes published at the same time: nº 5 of this collection must be defined indeed as Etude Op. 42, No. 5. On the other hand, Scriabin composed several etudes before this op. 42: one etude under opus 2 and 12 etudes under op. 8: Thus, our etude Op. 42, No. 5 is, in fact, the 18th etude composed by Scriabin, so it can be named also as Scriabin's Etude No. 18; and finally, it can be used BOTH numbers, named this piece as Scriabin's Etude No. 18, Op. 42, No. 5. This is not often used for Scriabin's etudes, but is commonly used in Beethoven's sonatas: i.e. Beethoven's Waldstein Sonata No. 21, Op. 53 (only this sonata in op. 53) and Beethoven's Moonlight Sonata No. 14, Op. 27, No. 2 (because Beethoven published TWO sonatas at the same time). In this case it is clear that it cannot be used Sonata Op. 27, No. 14!! thus you can correctly name this piece in THREE ways: Sonata No. 14; Sonata Op. 27, No. 2; Sonata No. 14, Op. 27, No. 2.
Hope this long explanation will be useful.
Dieses geniale Stück!
The Best of the Best 😮
Fast and perfect
The #5 is such a show-stopper. If only it didn't look so scary on paper. Especially that recap. Yikes! Very Schumann Toccata-esque.
The etude is like Scriabin's answer to Thalberg's Three Hands Technique.
슬픈 극락 .ᆢ 이승에선 이뤄질수없는걸 약속한 느낌
do you use any specific software to do this kind of video?
I don't understand that much of piano but uau I play ??
Por DIOS!
Женечка послушалби чуть Рихтера
Зачем? У него своё видение этого опуса с 1986, прекрасной юношеской записи из БЗК в Москве!
Спасибо Анне Павловне Кантор! Она даже в каком-то отношении лучше, искреннее, органичнее, чем эта, хотя эта тоже шедевр...
А почему Рихтера? У Рихтера здесь какой-то проезд поезда получился. Несомненный эталон для меня исполнение Софроницкого от февраля 1960-года.
@@nss4472 Да, да. Тогда, возможно даже в отношении этого этюда, Вознесенский сказал, что ему страшно от того, что юный пианист понимает то, что по возрасту еще не положено понимать. (хотя могу ошибаться).
I am surprised that Kissin plays this etude well.
Why? Man's a wizard at the instrument...
Agree;-)
It is not good sorry
What makes it not good in your opinion?
@@Varooooooom only notes and no essence. Kissin doesn't understand Scriabin at all. He is a fraud as a pianist (like sooooo many), but I like him as a person. Scriabin is not a lunatic like Robert Schumann or me, he was visionary, the "star gate portals" he felt them, I do to, but it is not like that. The Mysterium is NOTHING and was not Alexandre his ego! It was about the spectrum of light and the connection with love and fear of death. Kissin is just a baby here!
this is me IMPROVISING "Skrjabine" after a greaaaat cocktail named A Widow's Kiss with REAL Absinthe
ruclips.net/video/XHuQCrZqq9ge/видео.html
@@michieldemarey I think Kissin’s interpretation of this etude is much more evolved and intentional than most other pianists’ interpretations. His performances usually sound very standard to me, but this one clearly has a lot of care poured into it. No offense, but you sound very egotistic.
@@Varooooooomyes "revolved". I czn enjoy this performance